Bob Marley/Neville Garrick
Bob Marley/Neville Garrick

Details
Bob Marley/Neville Garrick
A rare and important notebook belonging to Neville Garrick, former Art Director to Bob Marley And The Wailers, 1974-1981, containing lyrics and set lists in Bob Marley's hand, the notebook additionally containing lyrics and set lists in Neville Garrick's hand, album concepts, stage lighting diagrams and preliminary artwork, including:
- a page inscribed in Bob Marley's hand with preliminary lyrics for Satisfy My Soul, the 14 lines incomplete but showing variations, amendments and deletions to the text as Marley worked out the song's wording, reading Please don't rock, Don't Rock my boat Rockin Oh Oh Oh O I like it like this Know know u o u o, I " " " Satisfy my soul rept. For me all the time Around the bent new corner Oh let me be alone now Fee all right rept. See don't you belive [sic] me You must belive [sic] Why won't you believe me Oh darling darling I am calling calling Satisfy My Soul..., some additional stanzas added in Garrick's hand;
- a page inscribed in Bob Marley's hand with prelininary lyrics for Guiltiness, the 11 lines incomplete but showing variations, amendments and deletions to the text as Marley worked out the song's wording, reading Talking 'bout guiltyness [sic] Oh yea, Oh yea They live their lives now Each + everyday These are the victims They would do anything The everyway Oh yea .... They eat the bread of sorrow everyday ... Talking 'bout guiltyness - oh yea 2nd time - 3 times ...., with additional lyrics added in Garrick's hand;
- two pages inscribed in Bob Marley's hand with track listings, one page inscribed Slave Driver Talkin' Blues Slave Driver Sherrif Curfew and the other page inscribed Lively Cur. Talk Sher. Kaya Skank. Jam. Run-Crazy Punky Reggae Crisis;
- approximately 35 pages inscribed in Neville Garrick's hand with lyrics to various songs, some preliminary drafts, including Jammin' [3]; Exodus [2]; I Don't Wanna Wait In Vain; Is This Love?; Easy Skankin'; and Punky Reggae Party and also including lyrics for at least three unreleased and previously unheard tracks, beginning with the lines Girl If I Hurt You; Destroying And Melting Their Gold; and The Road Gets Hot;
- two pages inscribed in Neville Garrick's hand with proposed track listings for albums, one page with suggested track listings for the Exodus and Kaya albums, 1977 and 1978, another page with track listings for six Bob Marley And The Wailers albums;
- approximately 20 pages inscribed in Neville Garrick's hand with set lists for rehearsals for the Kaya tour, 5-11 May, 1978 and various concerts, including: Hill Auditorium, Ann Arbor, 18 May, 1978; Veteran Memorial Hall, Columbus, Ohio, 19 May, 1978; The Performing Arts Center, Milwaukee, 29 May, 1978;
- three pages inscribed with diagrams by Neville Garrick for lighting to be used on stage, the diagrams in ink and felt tip pen indicating the lights to be used on each band member
Literature
The Music And The Man, interview with Neville Garrick by Michael Kuelker, published in Distant Drums, October, 1997

Lot Essay

According to Neville Garrick, he would write out the lyrics in this notebook as Marley was playing his guitar, composing the music and lyrics for his songs. These lyrics would help Marley in remembering what he had sung, allow him to go back to the words and amend them as needed and they also served as a prompt in the recording studio. In a recent interview, Garrick shed some light on Bob Marley's composition style: When him go and write a song, he pick up a guitar then tell somebody like me that I must write down the lyrics which we think good. And I say to Bob, But I cannot choose...That's kinda too heavy an honor to put on me to decide which line is better. What I'd rather do, I said to Bob, we must get the tape and we'll tape it and I'll write down everything that you sing. And then we'll go through and choose...Him like it when you participate and when you have an opinion. Him don't like "yes people"...

As the band's Art Director, Neville Garrick assumed responsibility for lighting the stage shows. In a recent interview, Garrick said of his role in the band I feel I colored the music. I colored Bob's music from a visual perspective. What I basically was trying to do with my life was to set a visual interpretation of the mood of where Bob was taking the music... One of Garrick's primary concerns was that the message of Marley's music would be lost: Bob was playing a lot of times to, I would say, seventy percent, even more at times, young white college audiences. My fear was that maybe the music could be taken not for fully what it meant, if the visuals weren't right. In other words if they were just going on the beat and having a good time, smoking and getting high, but I started thinking about having Marcus Garvey and Haile Selassie and African symbols...That was my projection, to add to the whole thing by visually projecting what the music was dealing with by using symbology and with light and stage decor...

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